A certain contralto and some Pergolesi

The best thing this past winter’s Handel double bill in Brussels/Amsterdam left me with was Delphine Galou. Intensity of interpretation in that Tamerlano aside, it’s safe to say that I am by now a bit more than infatuated with her tone:

And yes, Pergolesi, since next week it’s his take on Adriano in Siria at Cadogan Hall with Opera Settecento whom, you, gentle reader, might remember as rocking from my posts about Catone in Utica and Griselda. Dude, Pergolesi made his impact on the world by age 26.

Also yes, who doesn’t want to kick the presenter who butts in at 2m? I can tell it’s one of those 5min blink programmellos for our attention span blighted age, but still: shut up.

The music speaks for itself. I love the alto part, the harmony is way more fetching than the soprano part (I don’t mind Merad but every time Galou comes in it’s oh yea, especially her lacrimosa line). Ok, to be fair, the entwining of the two is ace. Remember: he was 26.

Here’s the duet again with Piau and Rousset/Les Talens Lyriques:

About dehggial

Mozart/Baroque loving red dragon

Posted on September 9, 2015, in baroque, mezzos & contraltos and tagged , , . Bookmark the permalink. 6 Comments.

  1. the opening chord is like someone opening the door to a partial dark hallway and dropping honey to draw you in.. and with the contralto opening phrase, that’s it, you’re inside, door shut, for the whole journey!

    i really like how the balance of sound is great here so you get to hear Galou’s voice + line very well.. sometimes the sop can be so loud with the “ping” that blocks out the balance

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